By Murray Grodner
Murray Grodner attracts on his special profession as a double bass musician and instructor during this compendium of functionality philosophy, bowing and phraseology thoughts, tutorials on fingerings and scales, and routines for bowing and string crossing. Grodner addresses technical hindrances in musical functionality, bargains suggestion on device and bow buy, and gives an in depth method of the basics of bass taking part in. This advisor is a useful source for any bassist trying to increase functionality practices.
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Additional resources for A Double Bassist’s Guide to Refining Performance Practices
Example text
This manner of use for the elbow joint relates only to very fast (shorter) bow strokes and not longer, sustained bowings. Finally, each speed and volume will have some effect on the shaping that is required to create a proper-sounding spiccato. The faster the stroke, the more motion decreases. The bounce will be less visible, as will the back and forth movement of the bow. For orchestral excerpts using this stroke, see Beethoven I and III (p. 77), Mozart 39, 40, and 41 (p. 90–94). 38 Perfecting Techniques through Employing Scales, Exercises, and Orchestral Excerpts Spiccato should also be played five strokes per pitch and alternating combinations of (2+3) (3+2) (3 + 4) (4 + 3) (1 + 2 + 3) etc.
At least one version of either 7, 8, 9, 10, 11, or 11a should be included in practice of slurred bowings. 28 Perfecting Techniques through Employing Scales, Exercises, and Orchestral Excerpts 29 Perfecting Techniques through Employing Scales, Exercises, and Orchestral Excerpts Slurring examples up to this point were typical through the nineteenth century. Around the twentieth century, more uneven patterns evolved, and now any combination of slurred bowings are present in solo, chamber, and orchestral compositions.
Now alternate by playing sequence at first down-bow, rhythmic pause, and then up-bow. Count a full measure of rest between playing up- and down-bow versions. When this process seems perfect, try and play the whole first bar plus the B-flat in the next bar. When this effort begins to bring success, add the second bar of the passage. Force the bow to maintain the tempo in the second bar. If you find the left hand falling behind, realize that it is not primarily the fingering that is falling behind but the arm, which has to change from the descending motion of the last shift in the first bar to the ascending motion that is required in the first half of the second bar.
